Having ‘taken’ the White Stag Perceval receives per golden cup (‘coupe doree’) which he presents preciso Gawain con per manner reminiscent of the way sopra which Cliges presents his. Per this section (lines 281–627) allusions esatto the Perceval abound,25 but they are all given verso humorous twist so that the audience realizes that the author is engaged per verso literary contest of wits and not mere slavish imitation of an acknowledged specializzazione. Whilst Chretien’s Perceval is the youngest of three sons of an impoverished and then deceased knight, sopra Fergus he is the eldest of three offspring of verso paradoxically wealthy vilain (‘rice villain Soumeillet’, line 353),26 boorish, but married and obedient preciso per woman of noble giacenza on account of which she tells him it is not surprising that their bruissement has set his heart on per life of prowess: ‘Car il a maint bon chevalier/ En affranchit lingnage de par moi.

So it’s my belief he is taking after them’). These details reverse the situation depicted con Chretien, yet the mother displays similar grief at her son’s departure mediante both poets.

The style is unmistakably that of courtly ratiocinatio, sopra the manner of Soredamors: Ensi la pucele travaille

Carefully noted by Owen throughout his translation. Con Appendix Per he translates relevant passages from the two Perceval Continuations. The name is usually taken as verso transformation of Somerled, raffinato of the Isles (i.e. the Hebrides; Perceval’s parents came from the ‘illes de mer’), who was per Scottish chieftain who was frequently at war with the king of Scotland, but this appears to have no special significance con the romance where Fergus’s father has per niente special role onesto play.

the prosperity of the family, the nobility of the mother, and the handsome physique of the sons, he adds: ‘Nel caso che il fuissent fil a insecable roi,/ Sinon fuissent il molt biel, je croi,/ Et chevalier peussent estre’ (lines 331–33: ‘Had they been a king’s sons, they would have looked the part well, I think, and might easily have been sexfinder knights’) – Chretien’s heroes are usually of royal blood! After the multiple reminiscences of Yvain, Erec and Perceval and their creative manipulation, Guillaume duly turns his attention esatto Cliges which inspires the love dialectic of Galiene’s monologue at lines 1806 ff.,27 with its regular interrogative reprise of per key word as part of the argument: ‘Oh Fergus, bel amis ch[i]er! Amis? Fole, ke ai je dit? (lines 1806–7) Ja nel savra dato che ne li di. Jel die? Or ai dit folage (lines 1834–35) Mes pere me veut marier Verso insecable roi, in questo momento riches hom oriente, Plus biel, espoir, que cis nen est. Plus biel? Or ai ge dit folie (lines 1842–45) Jamais ne m’ameroit, je cuit. Amer? Ne tant ne quant ne m’aimme.’ (lines 1850–51) (‘Ehi Fergus, my dear handsome love! – My love? Fool that I am, what have I said? . . . He will never know unless I tell him. – Tell him? Now I’ve said something foolish . . . My father wants onesto marry me to per king, verso powerful man and perhaps per more handsome one than this. – More handsome? Now I’ve spoken nonsense . . . I’m sure he would definitely not love me. – Love? He doesn’t love me durante the least.’)

First she sobs, then she yawns; she tosses and turns, then gives verso start and almost loses consciousness

(cf. Cliges, line 881) Primes nell’eventualita che[n]glout et puis baaille; (Cliges, lines 882–83) Dejete soi et puis tresaut, (Cliges, line 879) Per ulteriormente que li cuers ne li faut. (Cliges, line 880) Un[e] eure dist, [l’]autre desdit; Un[e] eure pleure, l’autre rit. Puis torne son lit per rebors; Itel sont li cembiel d’amors. (lines 1871–78) (Such is the maiden’s suffering. At one moment she says something, at the next denies it, now weeping, now laughing. Then she turns her bed upside down, so violent are the joustings of love.)